The House of the Vampire

By George Sylvester Viereck

"He felt the presence of the hand of Reginald Clark ― unmistakably ― groping in his brain as if searching for something that had still escaped him. He tried to move, to cry out, but his limbs were paralyzed. When, by a superhuman effort, he at last succeeded in shaking off the numbness that held him enchained, he awoke just in time to see a figure, that of a man, disappearing in the wall that separated Reginald's apartments from his room…"
This vampire doesn't want the blood from your veins; he's after the ideas in your head. The hypnotic Reginald Clarke chooses his victims for their artistic abilities, charms them, and discards them after robbing them of their gifts. Originally published in 1907, this gothic novella was among the first stories of its type and remains a gripping tale of psychic vampirism.

• Language: English
• Publisher: Dover Publications
• Release date: Feb 3, 2015
• ISBN: 9780486787756

Book preview

VAMPIRE

I

THE freakish little leader of the orchestra, newly imported from Sicily to New York, tossed his conductor’s wand excitedly through the air, drowning with musical thunders the hum of conversation and the clatter of plates.

Yet neither his apish demeanour nor the deafening noises that responded to every movement of his agile body detracted attention from the figure of Reginald Clarke and the young man at his side as they smilingly wound their way to the exit.

The boy’s expression was pleasant, with an inkling of wistfulness, while the soft glimmer of his lucid eyes betrayed the poet and the dreamer. The smile of Reginald Clarke was the smile of a conqueror. A suspicion of silver in his crown of dark hair only added dignity to his bearing, while the infinitely ramified lines above the heavy-set mouth spoke at once of subtlety and of strength. Without stretch of the imagination one might have likened him to a Roman cardinal of the days of the Borgias, who had miraculously stepped forth from the time-stained canvas and slipped into twentieth century evening-clothes.

With the affability of complete self-possession he nodded in response to greetings from all sides, inclining his head with special politeness to a young woman whose sea-blue eyes were riveted upon his features with a look of mingled hate and admiration.

The woman, disregarding his silent salutation, continued to stare at him wild-eyed, as a damned soul in purgatory might look at Satan passing in regal splendour through the seventy times sevenfold circles of hell.

Reginald Clarke walked on unconcernedly through the rows of gay diners, still smiling, affable, calm. But his companion bethought himself of certain rumours he had heard concerning Ethel Brandenbourg’s mad love for the man from whose features she could not even now turn her eyes. Evidently her passion was unreciprocated. It had not always been so. There was a time in her career, some years ago in Paris, when it was whispered that she had secretly married him and, not much later, obtained a divorce. The matter was never cleared up, as both preserved an uncompromising silence upon the subject of their matrimonial experience. Certain it was that, for a space, the genius of Reginald Clarke had completely dominated her brush, and that, ever since he had thrown her aside, her pictures were but plagiarisms of her former artistic self.

The cause of the rupture between them was a matter only of surmise; but the effect it had on the woman testified clearly to the remarkable power of Reginald Clarke. He had entered her life and, behold I the world was transfixed on her canvases in myriad hues of transcending radiance; he had passed from it, and with him vanished the brilliancy of her colouring, as at sunset the borrowed amber and gold fade from the face of the clouds.

The glamour of Clarke’s name may have partly explained the secret of his charm, but, even in circles where literary fame is no passport, he could, if he chose, exercise an almost terrible fascination. Subtle and profound, he had ransacked the coffers of mediaeval dialecticians and plundered the arsenals of the Sophists. Many years later, when the vultures of misfortune had swooped down upon him, and his name was no longer mentioned without a sneer, he was still remembered in New York drawing-rooms as the man who had brought to perfection the art of talking. Even to dine with him was a liberal education.

Clarke’s marvellous conversational power was equalled only by his marvellous style. Ernest Fielding’s heart leaped in him at the thought that henceforth he would be privileged to live under one roof with the only writer of his generation who could lend to the English language the rich strength and rugged music of the Elizabethans.

Reginald Clarke was a master of many instruments. Milton’s mighty organ was no less obedient to his touch than the little lute of the troubadour. He was never the same; that was his strength. Clarke’s style possessed at once the chiselled chasteness of a Greek marble column and the elaborate deviltry of the late Renaissance. At times his winged words seemed to flutter down the page frantically like Baroque angels; at other times nothing could have more adequately described his manner than the timeless calm of the gaunt pyramids.

The two men had reached the street. Reginald wrapped his long spring coat round him.

I shall expect you to-morrow at four, he said.

The tone of his voice was deep and melodious, suggesting hidden depths and cadences.

I shall be punctual.

The younger man’s voice trembled as he spoke.

I look forward to your coming with much pleasure. I am interested in you.

The glad blood mounted to Ernest’s cheeks at praise from the austere lips of this arbiter of literary elegance.

An almost imperceptible smile crept over the other man’s features.

I am proud that my work interests you, was all the boy could say.

I think it is quite amazing, but at present, here Clarke drew out a watch set with jewels, I am afraid I must bid you good-bye.

He held Ernest’s hand for a moment in a firm genial grasp, then turned away briskly, while the boy remained standing open-mouthed. The crowd jostling against him carried him almost off his feet, but his eyes followed far into the night the masterful figure of Reginald Clarke, toward whom he felt himself drawn with every fiber of his body and the warm enthusiasm of his generous youth.

II

WITH elastic step, inhaling the night-air with voluptuous delight, Reginald Clarke made his way down Broadway, lying stretched out before him, bathed in light and pulsating with life.

His world-embracing intellect was powerfully attracted by the Giant City’s motley activities. On the street, as in the salon, his magnetic power compelled recognition, and he stepped through the midst of the crowd as a Circassian blade cleaves water.

After walking a block or two, he suddenly halted before a jeweller’s shop. Arrayed in the window were priceless gems that shone in the glare of electricity, like mystical serpent-eyes—green, pomegranate and water-blue. And as he stood there the dazzling radiance before him was transformed in the prism of his mind into something great and very wonderful that might, some day, be a poem.

Then his attention was diverted by a small group of tiny girls dancing on the sidewalk to the husky strains of an old hurdy-gurdy. He joined the circle of amused spectators, to watch those pink-ribboned bits of femininity swaying airily to and fro in unison with the tune. One especially attracted his notice—a slim olive-coloured girl from a land where it is always spring. Her whole being translated into music, with hair dishevelled and feet hardly touching the ground, the girl suggested an orange-leaf dancing on a sunbeam. The rasping street-organ, perchance, brought to her melodious reminiscences of some flute-playing Savoyard boy, brown-limbed and dark of hair.

For several minutes Reginald Clarke followed with keen delight each delicate curve her graceful limbs described. Then—was it that she grew tired, or that the stranger’s persistent scrutiny embarrassed her?—the music oozed out of her movements. They grew slower, angular, almost clumsy. The look of interest in Clarke’s eyes died, but his whole form quivered, as if the rhythm of the music and the dance had mysteriously entered into his blood.

He continued his stroll, seemingly without aim; in reality he followed, with nervous intensity, the multiform undulations of the populace, swarming through Broadway in either direction. Like the giant whose strength was rekindled every time he touched his mother, the earth, Reginald Clarke seemed to draw fresh vitality from every contact with life.

He turned east along Fourteenth street, where cheap vaudevilles are strung together as glass-pearls on the throat of a wanton. Gaudy bill-boards, drenched in clamorous red, proclaimed the tawdry attractions within. Much to the surprise of the doorkeeper at a particularly evil-looking music hall, Reginald Clarke lingered in the lobby, and finally even bought a ticket that entitled him to enter this sordid wilderness of décolleté art. Street-snipes, a

Reviews for The House of the Vampire

[lgandt · Rating: 3 out of 5 stars]

I listened to this once before, thought it was alright, but listened to it again and enjoyed it much better the second time around. I loved the setting mostly.

[vombatiformes · Rating: 5 out of 5 stars]

The House of the Vampire is a truly strange book -- purportedly one of the first "psychic vampire" novels, where the vampire does not feed on blood but rather the creative "energy" of its victims. Reginald Clarke, adored and respected within his community, is a predator that encourages the young men under his tutelage to create beautiful masterpieces which he then steals -- before they can be produced. The images and words are taken from their minds, and Reginald grows stronger and more confident with each feeding. When he steals the idea for a successful play from a young man, his secret begins to be discovered, and there is an extremely interesting homoerotic subtext to this that is difficult to overlook. The power dynamic between Reginald and his subjects is horrifying, and the helplessness he creates is even moreso. This isn't your typical vampire story, but it evokes a lot of the same themes that the vampire reader has become familiar with -- and branches off in some different directions that you might not expect. Having grown used to the standard bloodthirsty-monster version of the vampire, I didn't think I would enjoy The House of the Vampire very much, but I actually found it really refreshing and fun to dissect. It's a short book and the writing isn't very dense, so if you consider yourself a vampire fan but haven't gotten around to this one yet, you should do yourself a favor.

[arkrayder · Rating: 3 out of 5 stars]

This was an okay story. The “vampire” of the tale is certainly unique. All I will say is he is not the blood sucking kind and thankfully not the Edward Cullen kind either. A major mark against this author is his nazism which I didn’t learn of until after reading this on the Serial app.

[justabookreader · Rating: 4 out of 5 stars]

I’ve been over the vampire thing for a bit but every once in awhile an old school one finds me and I can’t help but read it. While looking on the Gutenberg Project for some horror recently, I found this one. Let me tell you, there’s nothing like a Victorian, Gothic, psychic vampire. Reginald Clarke is a man everyone loves. He’s talented in every way and people crave his company. Artists flock to him and he takes in writers, musicians, and painters to his home. But something happens to all these talented people --- they soon leave him with nothing, not a trace of the talent they arrived with. A young writer staying with Reginald, and for all purposes,under his spell, figures it out and tries to get out from under Reginald’s enchantment. The House of the Vampire is good and creepy and the type of vampire story I want more of. There’s no blood and certainly no sparkling going on here. Let’s all take a moment to be thankful for that. It’s an interesting concept, a psychic vampire, and frankly one that’s more terrifying, in some ways, than an actual blood sucking vampire. This is someone stealing who and what you are. Taking it for himself and using it to his advantage until there’s nothing left of you. You are a shell of a human being with nothing to give or take from anyone. Think about that.If Wikipedia is correct, this short story was written in 1907 but it feels younger than its 100 + years.